7 Phe teader of this baplder will Pas we . 
trust, that our object is not merely to call 
attention to the goods we manufacture, but to ~ 

in a way to be helpful, certain ideas 

on Interior Decoration, not’ restricting our sugt, iy 
gestions to the treatment of walls, but. giving 
attention © to. many other details” ee “home He 


present, 


furnishing. 


appreciation of artistic. decorative work. . 


Together with this booklet, ‘we are ae 
publishing another of the same size and Styles: 
entitled ‘Artistic Possibilities of Wall Treat- 
It contains the 
same number of illustrations, but - they are 
taken from houses of more expensive con= hee ‘Cel 


Deke 


_ment in Typical Homes. 


struction than those shown herein, 
We have 


_ with the many questions arising ' 
Hey application of our. goods . 


Recognizing and dghine: to es ion sent postpaid on application. 


_ growing interest in home decoration and fur- 3 
nishing, it has been our privilege for several 
years to secure and publish valuable teading 
“matter and illustrations leading to. the ee 


peal oe ineea the: ‘ol 


Mowing: ‘bookdets, which are n ota strated: es 


: “The Modern House,’ ‘John Taylor. 
“Light, Color and. Color Harmony.”” 
«Acoustic Properties of Rooms.’ 


_ ‘“Fab-Ri-Ko-Na Question Book,” 


whichdeals — 
egardto the _ 
the walls. nary 


A free copy of any of the above will be cy 


We also publish ¢ “New Ideas for ieee econ? i: 


c caton: a portfolio containing ten sketches in 
' the modern. spirit by John Ednie, the sketches 
” shown in color, with descriptive. matter by = 
ORT ‘Taylor, and another portfolio entitled 

“The New Art in Decoration,” ue eon 
“Six strikingly. original designs by D. Robertson. 3.2073 
Smith, reproduced in ee ie 
“specially notable for their. stencil ‘suggesti St a Cape 
‘They are 8 panel inches in size. : 


containing 


| black and white, and — 


We, will send sae Loe hha 


GOOD TASTE IN DECORATION 


HE possession of artistic tastes, and the desire to gratify those tastes by surrounding one’s self with artistically 
satisfying things, are not confined to the rich. Indeed, they are expressions of culture and refinement which 
may exist independently of the question of income. 


There is no truer measure of the degree in which a people are being educated and broadened, than the 
growing manifestation of good taste and individuality in the furnishing of a home. In former times the idea of 
decoration was one involving splendor of material and extravagance of ornamentation, but in these days beauty 
of form and color is emphasized more than costliness of material. 


There never was a happier day than this for the Art lover who is limited to moderate or even small means. Never 
were there so many charming materials within his reach and the limits of his purse. There is surely no excuse in these days 
for inartistic or unsatisfying surroundings. All one needs is the spirit to desire and the vision to see. 


During the last two decades fine art has moved forward with steady strides, applied art by leaps and bounds. Numer- 
ous agencies have helped the movement: a better understanding between Art and Craft; aids from Science; a higher 
conception of the beautiful; rational ideas on Art and Utility in the home, together with the active co-operation of an intelli- 
gent press, and the earnest efforts of a skilled class of manufacturers. From this there has resulted so great an abundance of 
productions for the spread of art and beauty in the home that no excuse can be urged for the lack of such qualities. 


We think we may modestly claim that the H. B. Wiggin’s Sons Company has a place among the manufacturers of 
Art products, and that their Fab-Ri-Ko-Na Woven Wall Coverings have helped both to create and to satisfy a growing 
demand for appropriate things in the home. In some quarters there may be a feeling, on the ground of expense, and in the 
matter of congruity, that Fab-Ri-Ko-Na Woven Wall Coverings, representing as they do the highest standard of Art and 
excellence, are suited to only the higher-priced homes. 

It is also urged that the science of dyeing has today lost the art of imparting a fast color to a fabric ; that a textile wall 
surface forms a trap for dust particles and creates unsanitary conditions ; and, moreover, that there are difficulties in the way 
of hanging wall fabrics properly, particularly where experience in such work is limited. 

It is one of the objects of this booklet to remove all such misconceptions, and to show by pictures of actual rooms the 
extreme suitability of Fab-Ri-Ko-Na Woven Wall Coverings for the modest or unpretentious home. In the fourteen illustra- 
tions herein contained, there is not an effect which cannot be reproduced at quite a reasonable cost, in almost any style of 
house ; and in cases where, architecturally or decoratively, there is a suggestion of expense, there may be such modifications 
of construction or decoration as will bring the work within the limits of a moderate outlay. The schemes are in fact so arranged 
that by a transposition of parts the utmost variety may be secured, thus enlarging the scope and usefulness of the book. 

But, let us examine some of the objections aforementioned,—and, first of all, consider the matter of expense. 


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The cost of preparing the walls and hanging the goods are items that you would have to consider even if you used the 
cheapest material. In putting in the added cost of using the Fab-Ri-Ko-Na you greatly enhance the value of your finished 
decoration. The actual cost of decorating the walls of your best room, your Parlor, for instance, if it were done entirely with 
Fab-Ri-Ko-Na Woven Wall Coverings, would probably not be as much as you would spend on a new dress or a new suit of 
clothes, and the room would still be a source of pleasure to you long after the gown or suit had gone the way of discarded 
garments. 

But you can secure an effect that will wonderfully enhance the charm of your room, even if you use Fab-Ri-Ko-Na 
Woven Wall Coverings on only a part of the wall; a dado of plain or figured burlap (which costs but little more than the plain) 
from baseboard to chair rail, with a suitable paper above it ; a lower two-thirds of burlap, and a paper from the plate rail up ; 
a fabric wall with a paper frieze or the reverse. In the pictures in this booklet you will find many places where combinations 
of this kind will suggest themselves to you. In this way the comparatively small additional expense would be distributed 
over several rooms, and yet the whole house would have a new dignity and richness. 

The additional expense is, after all, more apparent than real. Answers to the remaining objections will show this: 
For instance, the colors of Fab-Ri-Ko-Na Woven Wall Coverings are very permanent to light. Years of expensive experimental 
work have enabled us to do what seems, to the unconvinced, the impossible. Where you have used wall paper has it not 
been your experience that its original color was gone in a very little while, and all your pains in studying to secure a consistent 
color scheme were lost? You either endured the unsatisfactory decoration, or went to the added expense of redecorating. 
Fab-Ri-Ko-Na Woven Wall Coverings make your walls a continuing delight. Your color scheme stays with you, and you 
may arrange a harmony of wall covering, floor covering, furniture, draperies, etc., without the haunting fear that a discordant 
note will soon come from the walls and frustrate all your efforts. 

We will gladly furnish samples of any of our dyed goods for you to test by ‘‘ Leaving It to the Sun.”’ 

If your dealer is sceptical about the permanency of Fab-Ri-Ko-Na colors, it is because he has never tested them. If 
he has recently used similar goods and had them fade, be sure they were not ours. Remember, there are goods on the mar- 
ket made to look like Fab-Ri-Ko-Na Woven Wall Coverings, but of inferior quality and coloring, and Fab-Ri-Ko-Na sometimes 
has to suffer fr om the disgust and distrust these other goods create. For that reason we print on the back of every yard of 
our 36-inch “‘ Fab-Ri-Ko-Na’’ goods our trademark, and trademark emblem, “‘ We Leave It to the Sun,”’ referring to the colors. 

FAB-RI-KO-NA nears ms 


site, 


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We cannot too strongly impress upon you the value to you of having a fabric which will prevent your walls from 
cracking, and will maintain tts color; to get such a fabric you must insist upon having Fab-Ri-Ko-Na. 

The question of keeping Fab-Ri-Ko-Na Woven Wall Coverings clean presents little difficulty. True, you cannot wash 
our regular Dyed Tapestry Burlaps, which are desirable especially because of their soft fabric surface effect, but they can be 
easily brushed free from dust, or cleaned with any of the materials now used for cleaning wall papers. 

We have, however, prepared certain colors known as Vellum Ko-Na Nos. 180 to 195, with a special finish, adapting 
them particularly for districts where soft coal is used. In these numbers we have sacrificed to a slight extent the soft depth 


BOS 


of color, but have gained a surface so firm that you may rub quite hard in wiping off dust and not raise the nap. They will 
even permit of the use of a damp cloth. Our Art Ko-Na Cloth is so finished as to possess the same advantages ; which 
places these two lines of goods far ahead of any similar line of wall coverings. 


The Fab-Ri-Ko-Na Woven Wall Coverings are sanitary. In the course of manufacture the goods are treated with non- 
poisonous antiseptics, and the fact that they are now used in hundreds of private and public buildings in almost every large 
city in this country and in Europe, having successfully met the requirements of the authorities, is proof that their use is con- 
sistent with the demands of advanced sanitary science. 

Any intelligent paperhanger can hang Fab-Ri-Ko-Na Woven Wall Coverings as easily as he can hang wall paper. 
The walls are prepared just as they should be for wall paper, the fabrics are pasted to the wall just as wall paper is, and with 
the same kind of paste. If your decorator has never handled our wall coverings, have him write to us, and we will give him 
such explicit instructions, in the terms of his craft, that he need have no difficulty in putting Fab-Ri-Ko-Na on your walls in a 
workmanlike way. 


Another element of economy in the use of Fab-Ri-Ko-Na Wall Coverings is that they cover cracks now in your walls 
and prevent others from forming, thus disposing of a cause of great annoyance and expense to the homemaker. If your 
house has been some years built, you have had troubles from wall cracks. Your smooth hard finish, or rough tinted plaster, 
or your carefully chosen wall paper, has been spoiled. Had your walls been protected by a strong Fab-Ri-Ko-Na covering, 
the cracking would have been avoided ; and even now, if you will fill the largest of the cracks, and put one of our strong, 
firmly woven fabrics on your wall, you will cover these blemishes, and make impossible future trouble of the sort. 


Have you not heard that when the great disaster overtook San Francisco many of the walls of the houses there were 
shattered, or altogether destroyed, but such as were decorated with Fab-Ri-Ko-Na stood the crucial test, and after the day of 
trouble were found in a satisfactory condition. 


The fact is that the Fab-Ri-Ko-Na wall coverings first came into existence because the need was felt of something 
strong enough to bind a wall together, preventing cracks, and affording a secure foundation upon which wall decorations of 
various kinds could be placed, a foundation capable of withstanding the vibrations by which walls are affected, the more or 
less frequent impact of carelessly handled furniture, and the bumps and scratches inflicted by children. From this starting 
point came the discovery of the artistic possibilities of the fabrics, and the campaign of education by which the decorating 
trade and the general public have been helped to see those possibilities as we see them. 

It no longer applies that we begin home life on the same plane our fathers and mothers leave it off. Young men and 
women of today, fresh from college, with advanced ideas on every thinkable subject, demand an up-to-date home. 

No wiser choice can be made by a young couple starting out on life’s eventful journey, than the decision to make the 
home not only the center of all that is good and healthy, but so charming and beautiful that its influence will be felt by all. 

This can be done most surely by cultivating ideas, rational and artistic, and giving to the home such an individualistic 
touch as to insure for it a unique character. The makers of Fab-Ri-Ko-Na are interested in this beyond the mere commercial 
aspect of the question, and nothing will afford them greater pleasure than to help in any way in the introduction of art and 
beauty into the thousands of American Homes of Moderate Cost. They invite correspondence with their Art Department. 
Look for Fab-Ri-Ko-Na trademark on the back of every yard of the 36-inch goods. 


NARROW 


HE Hall has come to be regarded as quite an important part of the house. 


mistake to make it too pretentious. 


ENTRANCE HALL 


In homes of moderate cost, however, it is a 


In olden times, notably in the seventeenth and eighteenth centuries, wood paneling, great ingle nooks and other 
features suggested dignity and a cordial reception in this part of the house, but later, when gerrymandering came along, the 
Hall was degraded to the rank of a mere passage of communication, and interest was lessened. 

The modern men revive the importance of the Hall by putting some of their best work into it, and giving it something 
of the character of a room, where, because of its favorable position, tea or music may be indulged in comfortably at any 


season of the year. 


The modern men prefer a square, lofty Hall, open to the roof, with stair hidden away in a corner and gallery running 


across at the back, leading to the bedrooms. 
well, greedy of space, and concentrates the attention on things around. 


There is much in favor of such an arrangement, it obviates the great unsightly 
There may be an interesting wall surface; a quaint 


door with striking leaded glass panel; some well designed pieces of furniture; brightly colored Oriental rugs, or rugs of the 
familiar Donegal type, made by the peasantry in the North of Ireland. 
Whatever the style of decoration in the Hall, it must be arranged to harmonize with such rooms as lead from it, for 
with open doors there should be no discordant color tones in these days of intelligent public opinion. 
For this reason, it is well to make the Hall the starting point of your decorative scheme. 


DETAILED DESCRIPTION 


The Entrance Hall opposite is narrow and has 
no special features. It is, consequently, treated 
in the simplest manner. All the woodwork, in- 
cluding dado, doors, balusters, rail and stair 
treads, is stained a dark oak, and the margins on 
the floor are dealt with similarly. 

The dado is Fab-Ri-Ko-Na Dado No. 1028, a 
dark brown with greenish black printed figure; 
the upper wall is covered with Fab-Ri-Ko-Na No. 
130, a deep pea green, forming a fine contrast to 
the oak; the ceiling is decorated with a light green 
(or cream) figured paper, the only pattern being 
thus on dado, floor and ceiling. 

The rugs are of Oriental type, with tones of 
green, rich red and white, the furniture being 
confined to a narrow side table, two chairs and a 
few hanging ornaments. 


This may be varied by dividing the wall into 
panels above the dado, with a small, neat stencil, 
after the manner shown on page 9, the stencilling 
being in a shade of brown corresponding to the 
woodwork. This might either finish in line with 
the bottom stair newel, or be carried up obliquely 
to the first landing break. 

Another method of decoration is to stencil 
a diapered motif well under the cornice in shades 
of rose pink, lighter green and cream color. 

Other color schemes for Hall are white wood- 
work, with medium red Fab-Ri-Ko-Na No. 140, 
in which case, if stencilling were employed, white 
or black or a combination of the two would be 
most effective; white woodwork and medium blue 
Fab-Ri-Ko-Na No. 122, or No. 111M, alight blue 
with a metallic surface; green stained woodwork 


bes a! 


and orange colored Fab-Ri-Ko-Na No. 151; dark 
grey woodwork with cream Fab-Ri-Ko-Na No. 
100; lighter grey woodwork and the Fab-Ri-Ko- 
Na No. 111M. 

These are but a few of the many combinations 
suited to all styles and tastes that may be culled 
from the widely varied Fab-Ri-Ko-Na color 
range. 

Should the house be in a city where soft coal is 
used, the Vellum Ko-Na burlaps will be found 
very desirable because of the hard finish given 
them, making them easy to clean. They are made 
in deep green, light pea green, Van Dyke brown, 
lemon yellow, Turkey red and medium blue. 
They do not have quite the effect of the softer 
finished burlap, but are very decorative as well 
as durable. 


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A MODEST COLONIAL HALL 


HERE is something peculiarly homelike to an American in the “‘ 


appropriate in the Hall. 


Colonial ’’ style of architecture, and, if anywhere, it is 


In spite of modern movements, this typically American style is still most popular, and it is fitting that the part of the 
house that first attracts attention on entering should bear a close relationship to the character of the exterior. 


It was one of the chief charms of the ‘ 


‘Adam’’ style, in the hands of the originator, that complete unity characterized 


the whole house; elevation, plaster and woodwork, chimneypieces, furniture and ornaments, all had the unmistakable Adam 


stamp, the chaste and refined inspiration the English architect drew from the classical Italian. 
and staircase has the delightful feeling of the ‘ 


The simple ‘‘Colonial’’ Hall 


“Adam”? Style, excepting that the great eighteenth century architect would 


have introduced his characteristic architraves, with square corners in place of the mitre, and balusters of a somewhat more 


ornamental character. 


The Pembroke table and the old “‘Grandfather’s clock’’ are characteristic features of the times that inspired the 
““Colonial,’’ adding to the quaintness of the picture. 

In many rural districts of England, such a type of Hall is yet quite familiar; 

of the past, _just as here it Suggests some of the most interesting and stirring pages of history. Let us have the other period 

styles, the “‘Mission’’ and the “‘Modern English, if you will, there is room: for them all, with such diversity of human 


taste and temperament,—but we cannot ignore the old familiar‘ 
sentations of it as typical as possible oF all ‘that it stands for. 


it is reminiscent there of a popular period 


Colonial, ’? and attention should be given to making repre- 


DETAILED DESCRIPTION 


Extreme simplicity is the feature here, and” 


quiet restfulness throughout. 

All the woodwork, stair rail, architrayes, and 
ceiling beams, is mahogany: likewise the table, 
chairs and clock case, and the stair treads as well. 

The whole wall space is covered with cream 
colored Fab-Ri-Ko-Na No. 100, a fine contrast to 
the rich, dark tone of the wood, and suggestive 
of lightness with the low, heavily raftered ceiling. 

The baseboard and the frieze plate are also 
stained mahogany, thus framing the white wall 
filling. This all gives a fine Colonial feeling, and 
forms an excellent background for old prints, and 
the cherished possessions of the collector. 

Rich colored Oriental rugs are ranged on the 
floor, which has been stained mahogany, and 
varnished; in the rugs deep blue and dark red are 


. and: light ‘browns. 


the predominating colors, with a mixture of dark 
The chair showing in the 
picture is upholstered in a print of a modern style; 
a Utrecht Velvet covering in an agreeable shade of 
green, blue or brown would be quite appropriate. 

The room beyond, a Billiard Room, with ma- 
hogany table and woodwork, has medium green 
Fab-Ri-Ko-Na No. 145 on walls, selected tc har- 
monize with the cloth on the table, always a 
conspicuous feature in the Billiard Room. The 
ceilings of the Hall and the Billiard Room are 
treated with cream colored Fab-Ri-Ko-Na No.100. 
Thus with Oriental billiard rugs, corresponding 
with those in Hall, in which the green tone is in 
sympathy with that of the Billiard Room wall 
covering, complete unity characterizes the whole 
double scheme. 


EOI Gy eee 


An alternative scheme is white fixed woodwork, 
balusters and stair risers in Hall, with medium 
green Fab-Ri-Ko-Na No. 145, leaving Billiard 
Room as suggested. 

Other arrangements with the same woodwork 
are: Fab-Ri-Ko-Na No. 105, a light brown, on 
the walls, with the No. 100 on the ceiling; or, if 
the Art Ko-Na Cloth be used, No. 251, brown, 
on the walls, with No. 226, cream, on the ceiling. 
In this case the Billiard Room could be treated 
with Art Ko-Na Cloth No. 253, a hedge green, 
on the walls, and with the No. 226 on the 
ceiling. 

If a blue effect is desired in the Hall, and colors 
in connecting rooms permit, Fab-Ri-Ko-Na No. 
146, delft blue, may be used on the wall, with 
No. 100 on the ceiling. : 


MODEST 


COLONIAL 
HALL 


or numbers desired. 


Give page and co 


Samples of goods specified for this room furnished on request. 


A CHARACTERISTIC PARLOR 


N the home of moderate cost, the Parlor should be a real living room, not a fancy apartment for show days. 


whatever use it may be put to, let it be decorated in rational style. 


For some inscrutable reason, the furniture designers and makers have given less attention to the Parlor than 
to the Dining Room and bedrooms, with the result that the furniture here is commonly of a nondescript character, as 
This mav be fortunate, or otherwise; in any case it permits of a free hand in the matter of 


in the picture opposite. 


decoration, excepting where the architecture is of quite a distinct type. 


The pianoforte, indispensable in a musical age, is at times a trouble; in schemes where cost does not count 
the case is designed em suite; in the moderate cost home, the plainest case will serve best. 


The Parlor should be bright, but not garish; make the color scheme a good background for the drama of 


modern life. 


Let preference be given to a plain wall surface on which a few choice pictures should be hung, not in the 
manner of plums in a pudding, but, generally speaking, with the lower line of each frame on the same level, and as 


far as possible in the direct line of average sight. 


For small pictures an ideal wall treatment is a frieze rail run along at the doorhead level, with a deep frieze 


above of a light Fab-Ri-Ko-Na, either stencilled or plain. Carefully selected and arranged cut flowers will, where 


obtainable, supply a charming note of color in the Parlor. 


DETAILED, DESCRIPTION 


In the Parlor of no particular style, there is un- 
limited freedom in the decorative treatment. 

In that on the opposite page, the wall is covered 
from baseboard to cornice with a grey green Art 
Ko-Na Cloth No. 252. With the style of furni- 
ture used, anything of a lighter nature would be 
too delicate. 

The ceiling is covered with cream Art Ko-Na 
Cloth No. 226, which, if rigid economy has to be 
practised, may be changed to a plain, unglazed 
paper of similar shade. 

The walls may be embellished by the use of a 
simple stencil, either in the form of one panel 
to each wall, or a series of smaller panels, 
which can be worked from one corner stencil, 
repeating the line between. 

The ceiling may also be stencilled, care being 


taken to make the respective lines correspond. 

On the wall, the stencil color may be like No. 
226, on the ceiling like No. 252. Stencil cut- 
ting and stencilling are easy to anyone who can 
use a pencil, a knife and a brush. Draw the 
design on stiff drawing paper; cut it out with a 
sharp pointed knife, stiffen the face side with 
a coat of varnish, and when dry it is ready 
for use. 

Fix it to the wall with small pins, and with a 
stencil brush dipped lightly in paint, and rubbed 
on a palette till little of the paint is left, stipple 
all over the open design. Carefully remove 
stencil, wipe the side applied to the wall, and 
repeat till the work is completed. 

In stencilling with two or more colors, great 
attention must be paid to the relative position of 


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the colors. Fab-Ri-Ko-Na No. 130, deep pea 
green, will do equally well for the wall, the 
other suggestions remaining. 

The carpet has a grey green foundation, and 
pattern in pink and light brown, while the 
furniture is upholstered in tapestry, in which 
the colors in the.carpet and the decoration are 
repeated. 

With cream or mahogany woodwork, Vellum 
Ko-Na No. 182, light pea green, on walls, with 
cream Art Ko-Na Cloth No. 226 on ceiling may be 
used. The Vellum finish is desirable in soft coal 
cities. Where the hard finish is not specially 
needed, Fab-Ri-Ko-Na No. 102, a light willow 
green, would be a good substitute for the Vellum 
Ko-Na No. 182, and Art Ko-Na Cloth No. 225, 
the greenish white, might be put on the ceiling. 


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CHARAC- 
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PARLOR 


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Samples of goods specified for this room furnished on request. Give page and color numbers desired. 


A VERY SERVICEABLE HALL 


N the modern home, there are few useless features. 
| inwards. In the picture on the opposite page the view beyond is into the Library. 
color schemes must harmonize, for no jarring note can be permitted in the home of today, when every house- 
holder has more correct ideas on color harmony than those held by decorators of a former generation. 

Now, the lighting of the respective apartments would, in a measure, determine the relative colors to adopt ; 

if the Hall be dull and the Library bright, the relationship should be from a light to a darker effect, and vice versa. 
Quite a good effect may be secured by treating both apartments exactly alike; in fact, with such a wide 
Where a Parlor and Library are connected as are the Hall and Library shown in 
In the furnished Hall there must be no 


opening this is the more rational plan. 


this picture, the same principles of treatment and harmony will apply. 
crowding of furniture, but freedom of action, nor need there be any great severity of style. 

There should be no very sharp contrast in color between the out-of-door aspect and the inside of the Hall, the 
immediate transition from Nature to Art ; otherwise the pleasures of reception may be somewhat discounted. 
Conditions vary, however, and the country Hall may call for quite a different treatment to that in the city or 

In the one case the greens and pale blues would be appropriate ; in the other, the greys, browns and yellows. 
Where contrast is desiderated, carefully arranged tones of green and yellow, orange and blue, blue and grey, 
rose color and green, amber and cream color, blue and white will be found serviceable, and where the wall is ina plain 
color from baseboard to cornice, a stencilled motif, easy to execute, will give character and interest to the scheme. 


town. 


DETAILED DESCRIPTION 


This is a ‘* Living Hall’? opening into a Library; 
the decoration is e suite. 

Woodwork white, furniture weathered oak, 
walls covered with a delicate green and white Art 
Ko-Na Cloth No. 243, light sea green. 

This is a fabric of beautiful texture and effect, 
on which is a series of closely placed embossed 
lines crossing at right angles, the raised parts 
taking on a deeper tone, or a different color to the 
receded parts, thus producing quite a unique sur- 
face. In No. 243 we have green and white, and 
with woodwork white and ceiling Art Ko-Na Cloth 
No. 225, greenish white, the combination is fresh 
and pleasing. 

Let us in some cases suggest improvement, or 
at least variation in the decoration. 

Draw two darker green lines around the room 


on a level with the doorhead, in a shade har- 
monious with the wall covering, and stencil a 
series of fleur-de-lis in the same shade in a dia- 
pered pattern on the frieze. 

Stencil ceiling border in green, the shade of the 
Art Ko-Na Cloth No. 243, let the border be close 
to the wall line, there being no cornice to break 
the transition. 

The curtains are of a coarse linen, in the 
darker green shade. They might be embellished 
with an 8-inch band of the lighter green toward 
the top, on which white fleur-de-lis may be ap- 
pliqued. 

The carpet is in shades of rose and green with 
touches of light brown. 

Of course any number of effective schemes may 
be arranged for such a Hall, especially where the 


emeiah Q\y ees 


Comfort and convenience are studied from the front door 


In such an arrangement the 


only cpenly connected room is given the same 
treatment. A striking effect in red may be se- 
cured by using Fab-Ri-Ko-Na No. 142, a deep 
rose red, on the wall, with Art Ko-Na Cloth No. 
245, a cream color with red-tipped high threads, 
for the ceiling. Fab-Ri-Ko-Na No. 156 is a terra 
cotta, and this on the walls, with colonial yellow 
Art Ko-Na Cloth No.227 on the ceiling, makes a 
pleasing combination. 

Art Ko-Na Cloth No. 283, a sage green with a 
bronzed surface, makes a very rich wall, with the 
greenish white Art Ko-Na Cloth No. 225 on the 
ceiling. 

In changing the wall and ceiling colors, you 
will, of course, change the stencil colors to suit, 
and see that the carpet is kept consistent with 
the whole. 


(altinte 
Bororr 


VERY 
SERVICE- 
ABLE 
HALL 


Give page and color numbers desired. 


Samples of goods specified for this room furnished on request. 


A RESTFUL HOME LIBRARY 


In the moderate cost home this room may 


not have a separate existence, a compromise may be effected with the living room or dining room; nay, some of the 


y ‘O the professional and mercantile man of today, the Library is a necessity. 


world’s greatest thinkers and writers have crowded all the domestic arrangements, with such books as they possessed, 


into a single apartment. 


But we are dealing with reasonable conditions, a simple convenient Library in a moderate cost house 


for the man whose day’s engagements are not over when he leaves the store or office; the man who has interests beyond 
mere personal gain, and needeth books to help him on, and a room where he can readily find them and quietly study them. 

The great master cabinet-makers of the eighteenth century, Chippendale and Sheraton, gave much attention to 
Library furniture, their bookcases occupying the whole side of a wall and reaching to near the cornice. 


This was overpowering. 


The sectional bookcase idea of today is more rational, if less artistic from the point of view 


of furniture design ; it gives a greater opportunity, moreover, for the art of decoration. 
While the decoration should be plain to a degree, with low bookcases a graceful stencil is admissible ; this must be 
well designed and carefully executed, however, otherwise irritation may ensue. 
The sectional bookcase is of no particular style; it can only be described as purely American, and withal utilitarian. 


The Library in which it is adopted should have no very marked architectural or decorative feature. 


If the furniture be oak, 


a green background will be pleasing ; if mahogany, a blue; if walnut, a grey; or, where a warmer note is wanted, a rich 


red will serve. 


DETAILED DESCRIPTION 


The Library illustrated is that seen through 
the opening in the last picture, the two rooms 
being so closely related that similar decoration 
will secure the best result. 

A variation may te made in the furniture, 
however, fumed oak being particularly appro- 
priate for the sectional bookcase, and in relation 
to the delicate green in the wall fabric would be 
even more pleasing. 

The portiere curtain made of double linen, with 
applique decoration on both sides, is made to 
draw freely with cords, acting close to the top in 
the middle of the surfeit. Quite a neat archi- 
tectural effect may be.obtained by cutting two flat 
arched pieces of half, inch wood, six inches broad 
in center, twelve inches at ends, covering these 
with the Art Ko-Na Cloth, fixing them between 


the architravyes in each room, thus forming a box 
cornice to hide the tops of curtains in which they 
will move freely. It is little embellishments of 
this kind that make a room interesting. 

And how infinitely more pleasing Millet’s 
““Angelus’’ will look on a background like this, 
compared to one of those wild, irritating, printed 
papers that, until burlap demonstrated the better 
way, formed the chief decorative asset in moderate 
cost houses. 

To what extent the new decorative idea has 
encouraged and enlarged the appreciation Of fine 
art will never be known; but there it is, and the 
great masters of the simple, natural school are 
better understood because of it. 

But do not remove the distracting pattern from 

he wall and encourage it elsewhere in the room, 


ae 


or intimate intercourse with an author may te 
interrupted. 

Should you wish to decorate such a room as 
this independently of other rooms, but retaining the 
white woodwork, you will find that Fab-Ri-Ko-Na 
No. 126, a deep sage green, supplies a strong, 
rich background for bookcases, books, pictures, 
etc. With the greenish white Art Ko-Na Cloth 
No. 225 on the ceiling the whole room has that 
effect of dignified repose greatly to be desired in 
the Library. 

With oak woodwork, a pleasing combination of 
wall coverings is made with Fab-Ri-Ko-Na No. 
105, a light brown, on the walls, and Art Ko-Na 
Cloth No, 226, a cream, on the ceiling, 

Either of these combinations will. of course, go 
equally well with mahogany woodwork, 


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HOME 


LIBRARY 


Ce oe aa 


ale 


Give page and color numbers desired. 


Samples of goods specified for this room furnished on request. 


MODERNIZED COLONIAL LIBRARY 


T was rather an unusual taste that dictated vermilion walls, olive green hangings, bookcases Flemish oak, a price- 
| less collection of Wedgewood plaques with pale blue foundation and white modeling, in frames of ebony, on the 
red walls ; yet this was the scheme of one who claimed to possess the artistic temperament, and who fitted out 

a fine old mansion in the style that prevailed when. it was built, some 150 years ago. 

In the Library architecturally “‘Colonial,’’? a “‘ Sheraton ’’ or ‘‘Queen Anne’’ bookcase, with other pieces of 
furniture in similar style, would be entirely appropriate. The furniture should be mahogany, stained to a rich shade 
of color, such as it would naturally assume if in regular use for a century and a half, and polished with a dull finish. 

Allthe metal fittings should be of antique brass, the carpet a rich green, the walls likewise green, and the 
woodwork either stained mahogany or white, according to fancy. Such additional touches as a quaint fire screen, to 
shield from the fire when reading; old fashioned footstool and fenderstool ; a typical iron and brass grate, with high 
ledge brass fender ; out-of-date ink pot ; quill pens laid beside suggestive pen wiper ; sealing wax ; candelabra ; some 
fine old prints, and other features of a bygone time, such would indeed be a “‘Colonial’’ Library. 

But where is the time to study and arrange all this, except in the case of the antiquarian and the faddist, who 
heed not the march of events, but live in the past, troubling little with the present? 

The architect plans a Library like that on the other page ; at the furniture store there is to be found the typical 
pieces in the picture, and H. B. Wiggin’s Sons Co. have a range of Fab-Ri-Ko-Na goods, in ideal texture and artistic 
permanent color, suitable for any style or effect. The rest is easy. 


DETAILED DESCRIPTION 


There is a suggestion of the ‘‘Colonial’’ 
style in this commodious Library, and being on 
an upper floor it has a retired position. 

The woodwork here is ivory tinted, the lower 
wali filling is the light golden brown Fab-Ri- 
Ko-Na No. 123. The sectional bookcase placed 
against it is in old English oak. In a room for 
study. where one looks not for esthetic pleas- 
ure, simple harmony between wall decoration 
and furniture is worthy of consideration; tut 
ruminating will come, then a restrained decora- 
tion on the frieze, stencilled at wide intervals, will 
be welcome. 

For this reason the delicate lustrous grass 
green Lustra Ko-Na No. 305 is selected for the 
upper wall space, and the motif is stencilled in 
brown. 


The ceiling is covered with Art Ko-Na Cloth 
No. 225, a greenish white, and with this the 
decoration may be said to be complete; but if any 
one is desirous of relieving such an expanse of 
plain surface, it may be done effectively and in 
the spirit of the period by stencilling a delicate 
pink Tudor Rose in diapered style all over, with 
abundance of plain spaces, the better to empha- 
size the decorated parts. 

The floor is covered with a plain brown felt, or 
carpet; all the lower part, including floor, walls 
and furniture, being in shades of brown and gold. 

Another very effective wall treatment for such 
a room would be to cover the lower wall with the 
Vellum Ko-Na Cloth No. 181, a Van Dyke brown; 
out lavender colored Art Ko-Na cloth No. 244 in the 
rrieze, and Art Kc-Na Cloth No. 229 cn the ceiling. 


In this case, the same stencil could be used, the 
Tudor Rose being stencilled in pink on the frieze. 
The brown carpet or rug would also be con- 
sistent. 

Lustra Ko-Na Burlap No. 309, a deep brown 
with a lustrous finish, makes a very effective 
Litrary wall. Run from baseboard to cornice, and 
associated with cream colored Fab-Ri-Ko-Na No. 
100 on the ceiling itgives a pleasing result, and one 
in perfect harmony with the purpose of the room. 

In a room with so much broken wall space, 
a large center bookcase, revolving or otherwise, 
with four sides for books, would be conyenient; 
the top will form a desk for placing a big volume 
for reference, a method congenial to some of our 
modern professors and students too intent on re- 
search to cultivate the lay habit of ease. 


MODERN- 
IZED 
COLONIAL 
LIBRARY 


Samples of goods specified for this room furnished on request. Give page and color numbers desired. 


AN EVERYDAY LIVING ROOM 


f | ‘HE term ‘‘ Living Room’’ is peculiarly American. It originated in America, and suggests a room typical of the 


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center of the social life of the country. It cannot but be full of bustle, with a degree of confusion; it should bea 

kind of synopsis of American life and character ; it need have no particular style, but should be characteristic 
of that which is best, most practical and up-to-date ; a room in which to live the life of today ; not to stagnate, 
dreaming about the “‘good old times’’ of yesterday. 

Now, does the description fit? If it does not, it should. On Fifth avenue and along the Hudson River bank 
we have too often looked to Europe with its traditions begotten during effete monarchies and worn out systems; but 
we must not confess that there is lack of initiative in the modern American, as there will be, if, in arranging his surround- 
ings he has to rely on the men of centuries ago for idea and inspiration. Have ““Colonial’’ halls, ‘‘ Early English’’ 
dining rooms, “‘ French’’ parlors, if you will, but let the Living Room be simply American. 

In one district of America, Grand Rapids, Michigan, there are some 200 furniture factories within a radius of 
twenty miles, making some of the best furniture in the world ; at Philadelphia, Pa., are annually produced miles and 
miles of high grade carpet, and at Bloomfield, New Jersey, are made the woven wall coverings adopted in every type 
of house wherever art and civilization have planted a cultivated taste. Here are the three principal factors in modern 
environment, purely American in idea and production ; let them form the basis of every Living Room,—at all events 
in the rational homes produced at moderate cost. Have clear, positive ideas here as to what you require, and carry 
them through irrespective of tradition or modern opinion. 


DETAILED DESCRIPTION 


The ‘‘Living Room’’ here, while of no definite cilled in alight tan color. It has an ** Adam ’”’ 


style, is suggestive of ‘Colonial’? in the furniture. 

The woodwork, including the plate rail, is white, 
the filling is a silk fiber paper of shade somewhat 
like Fab-Ri-Ko-Na No. 111M, a light blue me- 
tallic, a delightful contrast to the white woodwork, 
and a fine background for the mahogany furni- 
ture. 

On the frieze, Art Ko-Na Cloth No. 246, 
light blue, forms an appropriate connection with 
filling, woodwork and ceiling, which is white, 
kalsomined. Another combination would be Art 
Ko-Na Cloth No. 250, medium blue, the frieze 
Art Ko-Na Cloth No. 246, a light blue, and the 
ceiling Art Ko-Na Cloth No. 225, a greenish 
white. « 

The suggested motif for frieze should be sten- 


or ‘‘ Louis Seize?’ character, and will fall in ad- 
mirably with the general aspect of the room. 

The carpet and rugs are in shades of blue, 
green, and white, the door curtains are of a soft 
white fabric, on which some appropriate applique 
work in shades of blue may be introduced, as 
time and opportunity permit. 

The decorative effect would be greatly en- 
hanced by substituting the Fab-Ri-Ko-Na No. 
111M for the wall paper, or the Vellum Ko-Na 
burlap No. 185. 

Again, a charming effect would be obtained 
by using the lighter Art Ko-Na Cloth No. 248, 
robin’s egg blue, retaining all the other parts as 
suggested. 


We do not make sufficient use of blue. Itisa 


So Ges 


charming color when used discriminatingly, and 
the happiest effects may be obtained with combi- 
nations of gray, black and yellow, besides those 
already named. 

The color is cool enough to be delightful when 
the temperature is nigh 100° in the shade. When 
wintry winds prevail, some warmer tints can 
be introduced in curtains, electrolier shades, and 
by an arrangement of cut flowers when this is 
practicable. 

If green should be preferred, rather than blue, 
the lower wall may be covered with Fab-Ri-Ko-Na 
No. 141, a grass green, with the delicate willow 
green Fab-Ri-Ko-Na No. 102 for the frieze, and 
the greenish white Art Ko-Na No. 225 on the 
ceiling; with this arrangement the woodwork 
should te kept white. 


EVERYDAY 
LIVING 
ROOM 


Samples of goods specified for this room furnished on request. Give page and color numbers desired. 


A COLONIAL DINING ROOM 


N the home of moderate cost the Dining Room is more than a mere room in which to serve meals. This should 
| be considered when arranging the scheme of furnishing and decoration. 

There isa type of small Dining- and Sitting-room combined, that suggests a quiet coziness foreign to most other 
rooms; of such a character is the “‘ Colonial ’’ room 6n the page opposite. This is best suited with a low ceiling ; 
it should have burlap on at least part of the wall; anything in the nature of a paper would prove most ineffective, 
excepting the old flock paper so popular in the Dining Room of long ago, now almost obsolete, and, when produced, 
as costly as good burlap, yet not so decoratively efficient. Moreover, such a paper is thoroughly unsanitary; the 
loose particles forming the velvet-like surface are constantly dislodged, float in the atmosphere of the room, enter the 
lungs and do mischief. 

You may arrange a feeling of ‘‘ Colonial’’ in a Dining Room in various ways, architecturally, decoratively, or 
with a particular class of furniture ; or you may have more than one or every one of these features. 

Architecturally the style is familiar all over America, as well known as the national flag; decoratively, any 
te wall treatment in white, green or red burlap, in the more old fashioned shades, suggests it ; while the furniture 
on th € adjoining page iS So distinctly ‘ ‘Colonial ’’ that with it there should be no mistaking the char acter of the room. 


“Colonial’’ style in furniture is founded on the best models of seventeenth and eighteenth century European 
styles, the ‘“ Queen Anne ’’ predominating; this again being largely influenced by Dutch art, has an inherent quaint- 
ness, charmingly pleasing. 


DIAPERED 
WALL FILLING! 


DETAILED DESCRIPTION 


There is an altogether different atmosphere 
here. {t is atmosphere that makes a painted 
picture; and if in a room there te any bewildering 
influences in the decoration, the carpet, the furni- 
ture, or in the general arrangement, it has not 
been planned by an artist, and there will be found 
little pleasure in contemplating it. 

Here we have a distinctly ‘‘ Colonial’’ Dining 
Room, with old fashioned pillar table, ‘‘Sheraton’’ 
sideboard, ‘‘ Queen Anne’’ china cabinet, rush 
bottom chairs, all in mahogany staired to simu- 
late a life of 150 years. 

The tall candlesticks and the engravings on the 
wall, depicting life in the eighteenth century, 
all lend effect to the picture, which has been well 
and intelligently considered. 

The Oriental carpet is laid on a floor witha 


mahogany stained margin. Rising from this is 
a burlap dado, finishing with a chair rail; from 
this to cornice also a_ burlap, the ceiling being 
plain. 

All the woodwork is painted white, with white 
on ceiling, a cheerful note in a somber setting. 
The dado is Fab-Ri-Ko-Na No. 128, Van Dyke 
brown, which may be used plain or can be had in 
a print as shown on page 5; the wall filling is 
Fab-Ri-Ko-Na No. 108, a sage green; if a pattern 
is considered essential in an otherwise plain room, 
the rose stencil may be applied on the filling with 
the brown shade, or on the dado with the green. 

Should blue be the dominant color in the rug, 
and should you prefer an undivided wall treat- 
ment, the Art Ko-Na Cloth No. 248, a robin’s 
egg blue, could be effectively used, with cream 


aie yea 


colored Art Ko-Na Cloth No. 226 for the ceiling. 

But preference should invariably be given to 
the plain wall surface, particularly where in a 
low roofed room the wall is divided into two sec- 
tions by a dado rail. In the case of a frieze it is 
entirely different, this being considerably above 
the line of sight. 

With the Fab-Ri-Ko-Na No. 128 in the dado, 
forming a brown foundation, with the sage green 
Fab-Ri-Ko-Na No, 108, ora wall paper in the same 
color and shade, on the upper two-thirds of the 
wall, a white kalsomined ceiling is appropriate. 

A favorite Dining Room combination, though 
not so consistently ‘‘Colonial,’? is a lower two- 
thirds of the scarlet Fab-Ri-Ko-Na No. 140, with 
an upper third of lustrous grass green Lustra 
Ko-Na No. 305, ceiling kalsomined a cream tint. 


COLONIAL 
DINING 
ROOM 


Samples of goods specified for this room furnished on request. Give page and color numbers desired. 


A MODERN DINING ROOM 


HE modern Dining Room is not inspired by any style or tradition. It is frequently evolved without a definite plan; a 
carpet, a suite of furniture, that which passes for decoration, a few knickknacks, and there you are. 
Such a room would never satisfy any one of individualistic temperament or artistic taste. In such a case the modus 
operandi is something like the following : 


A color scheme, being the most important feature in the room, is decided on, and around this the whole picture is 
worked up. 

Now the color combination should take note of certain relative considerations, such as the amount of light in the room, 
the kind of light; the disposition of the wall space, the prospect of using this space as a background for pictures, or not; the 
style of furniture likely to be adopted, etc., each item important enough to be seriously thought out. You will find those 
who say that all this matters little so long as there is comfort and comparative inoffensiveness in the decoration ; but you 
would not risk the opinion of a color blind individual on a question between blue and green ; neither will you take the dictum 


of one devoid of the artistic sense on the matter of appropriate surroundings. 
In point of fact the choice and arrangement of color, and its relation to other parts of the scheme and to the house are 


all important. 


scheme, the choice of wall coverings plays a most important part. 


This is now recognized by all progressive decorators, and makes it possible to have an ideal environment 
without the enormously clumsy and expensive furniture that obtained in the time of our fathers. 


In arranging the color 


DETAILED DESCRIPTION 


Here we have a delightfully simple Dining 
Room, with not a single costly item in the whole 
scheme; a room to really live in, to use freely, 
the truly homelike character of it being its chief 
recommendation. 

It is scarcely ‘* Colonial,’? not extreme enough 
for ‘‘ Mission,’? one of the rooms to be found all 
over the States, the outcome of an intelligent public 
opinion, that has come to discard pretentious 
furnishing and showy decoration, and can only 
find pleasure in furniture rationally designed, 
well constructed, suited for a purpose, not for 
display. 

The furniture and woodwork are of fumed oak, 
the chairs have a thin upholstering in tan colored 
Spanish leather, finished with antique coppered 
nails, 


From baseboard to cornice the wall is covered 
with Kord Ko-Na No. 517, a deep pea green, 
and nothing is so well suited for a background to 
fumed oak as a green of this description. 

The ceiling covering is cream colored Fab-Ri- 
Ko-Na No. 100, and the excellent carpet on the 
floor is a plain light golden brown of deep soft 
pile. 

‘The chimneypiece is carved oak, the bricks are 
green, selected to harmonize with the wall coy- 
ering. 

The china decoration is effective, green, blue 
and orange being the prevailing colors in the 
plates. A collection of old or well colored china 
is invaluable for decorative purposes; much skill 
can be applied to the fixing of it. 

There is no call here for stencilled motif either 


on wall or ceiling. 

Variations on the above scheme in green may 
be made almost without limit, as the Dining 
Room, especially when not restricted by a special 
architectural form, gives a wide scope for decora- 
tion. 

For an undivided wall treatment, retaining the 
oak woodwork, and the Spanish leather uphol- 
stery, we may recommend Fab-Ri-Ko-Na No. 105 
for a light brown effect, the ceiling to be cream 
tinted, using either Art Ko-Na Cloth No. 226, or 
a kalsomine; or for a medium blue effect, Fab-Ri- 
Ko-Na No, 122, with the ceiling kalsomined a pure 
white; or, if a full red is fayored, Fab-Ri-Ko-Na 
No. 168 for the wall with a cream ceiling. 

The china collection would go well with these 
goods. 


MODERN 
DINING 
ROOM 


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Give page and color numbers desired. 


Samples of goods specified for this room furnished on request. 


A ROOMY UPPER HALL 


In the one illustrated the reverse is the 


It may seem at first sight out of proportion to a moderate cost house, but a close inspection will not disclose any 


fe certain architectural schemes the Upper Hall is not considered of much account. 
case. 


costly feature. 
It is purely a case of planning. 


A large Hall curtails the space in the rooms, and we have changed our ideas as to the 


amount of cubic space required indoors by a healthy individual, since the days, some thirty years ago, when Henry Ward 
Beecher startled an Exeter audience in London with his aeriform theories. 


In the modern house big rooms are not desiderated; other sections thus benefit. 


The Upper Hall and staircase on page 23 are in the ““ Colonial’’ spirit, with simple balustraded handrail, and three- 
light window with transom in purely ““ Adam’? style. 


There are opportunities here ofttimes neglected. 


might be taken of the background as a basis for pictures, china, etc. 


There was an old ‘‘ Colonial ’’ house with just such a hall and staircase, and in that house there was a rare collection 
“Minton,’’ ‘‘ Crown Derby,’’ etc., that had lain in a dusty cupboard for genera- 


of old china, ‘‘ Wedgewood,’’ 
tions. 


“* Spode,’ 
But a new owner was a woman of ideas. 


For example, with such a wall space and such a light, advantage 


She had the walls lined with a green Fab-Ri-Ko-Na, and all the flat pieces 


of the beautiful china were hung in parlor, hall and staircase, and the effect was charming, giving endless pleasure to those 
both of antiquarian and modern inclination. 


DETAILED) DESGRIBTION 


With such a well lighted Hall and Staircase 
as that confronting us, and with mahogany 
colored woodwork, we can go fearlessly into the 
rich deep shades of the Fab-Ri-Ko-Na Woyen 
Wall Coverings. 

This is one reason why Kord Ko-Na No. 532, a 
delft blue, is used above the dado, another being 
the fact that blue is a particularly pleasing con- 
trast to mahogany color. 

There is richness enough in such a scheme 
without the necessity for ornament, besides the 
peculiarly interesting texture of the Kord Ko-Na 
makes further decoration unnecessary. 

If those interested in such matters will examine 
the texture of the Fab-Ri-Ko-Na Woven Wall 
Coverings through a powerful glass, it will be seen 


wherein their virtue as a decorative basis consists. 

In the Kord Ko-Nas there is the addition of the 
jaspe effect, which, in a measure, breaks up the 
plain surface, without going to the length of 
pattern. 

In such a position as a Hall and Staircase wall, 
with panelled dado, nothing could be more effec- 
tive than these goods, when the color is judiciously 
selected. The ceiling is Fab-Ri-Ko-Na No. 100, 
cream. 

An alternative scheme is the cream colored Fab- 
Ri-Ko-Na No. 100, all over walls and ceiling, 
and on the wall space to stencil an interesting 
pattern in blue, or to form panels with a blue 
leaf line. Either style would be quite effec- 
tive, and harmonize with the general scheme, 


BLE fe anue 


including the carpet in shades of blue and red. 

The blue Kord Ko-Na when in use for some 
time might be changed completely by stencilling a 
diapered pattern over it in white. 

The window seat is upholstered in blue. 

Getting away from the blue wall covering, but 
retaining the mahogany woodwork, Fab-Ri-Ko-Na 
No. 124, agolden yellow, would make an interest- 
ing wall, with which a white or light cream colored 
kalsomine would go fittingly on the ceiling. 

The same ceiling above a wall covered with 
Fab-Ri-Ko-Na No. 120, a bright olive green, 
would crown yet another restful color scheme. 

Either the blue, the yellow or the green treat- 
ment would harmonize perfectly with oak or white 
woodwork if desired, 


ROOMY 
UPPER 
HALL 


Samples of goods specified for this room furnished on request. Give page and color-numbers desired 
< S U bers desired, 


THE GUESTS) BEDROOM 


N whatsoever light we may regard the other parts of the house, the Bedroom should be treated with the greatest care and 
respect. It is trequently urged that we spend about a third of our lives there, and while most of this is in an unconscious 
or subconscious state, wide-awake impressions are formed there that will be all the better for a charming environment. 


Mr. Lawson Johnstone, a millionaire, well known to Canada, slept in a bedroom into which cool and hot air could be 
admitted at will, fresh air introduced, and vitiated expelled; but this and other scientific methods, while important enough, 
are not everything. 


A simple Bedroom in quasi-‘‘Colonial’’ style, like that opposite, with side wall decorated with an artistically colored, 
antiseptically treated Fab-Ri-Ko-Na wall covering; a fine, healthy, comfortable brass bedstead, suitably equipped; a window 
that freely admits the sweetening influences of air and light; a minimum of floor covering, and furniture useful and of appro- 
priate design and finish, is suggestive of soothing repose. In the matter of Bedroom furniture there is no limit to the choice, 
in dull polished walnut, in quaint ‘‘Queen Anne’’ and ‘“Sheraton,’’ mahogany, in birch or in any of the oak varieties, 
reproductions of many a pleasing style will be found. As to the chimneypiece, the architect who takes control of all such 
details will see that it has some characteristics of seventeenth or eighteenth century ornament, enough in itself to give a 


distinctive character to the room. 


In Fab-Ri-Ko-Na Woven Wall Coverings there is a wide range of colors suitable for Bedroom decoration, some of the 
more delicate Art Ko-Na Cloths being particularly adapted for use here. 


DETAILED DESCRIPTION 


Sweetness and simplicity is the note in this 
Bedroom, and a departure from some of the former 
schemes in this respect is that all the fixed wood- 
work, excepting the door, is white, but the door 
is mahogany. 

This is quite an old arrangement, and one 
found in many of the old country houses in Eng- 
land; in the present instance the furniture is also 
mahogany, all the metal fittings and furnishings, 
including the twin bedsteads, being of antique 
brass, 

This is a charming bedroom suggestive of quiet 
restfulness and peace. How far this is due to 
the wall covering it is difficult to say, but in all 
cases where Lustra Ko-Na No. 307, a light sage 
green, is used, especially in conjunction with 


mahogany and white woodwork, the result 
works out in this way. 

On the floor there is a plain green carpet, and 
the window is draped with an old fashioned 
English chintz, and the spirit of the old times is in 
the air. 

Note the little spindle chair, with loose cushion, 
in the corner by the fire. This is a reproduction of 
a chair greatly used over a hundred years ago; it is 
faithfully rendered, and greatly enhances the effect. 

But the wall decoration in its quiet dignity is 
the best part of the scheme, and considering the 
effect the cost was trifling; for it is a low roofed 
room and required not a large quantity for the 
walls. The ceiling is finished with blue Art 
Ko-Na Cloth No, 246, the white foundation of 


Sa 9g.) Shs 


which harmonizes well with the woodwork. 

The twin tedstead idea has advantages, the 
smaller beds teing more portable than those of 
larger make. 

An alternative scheme would be Art Ko-Na 
Cloth No. 229, Quaker grey, with Art Ko-Na 
Cloth No. 225, greenish white, for ceiling. 

If the height of the room will permit, a paper 
may be put on the wall up to within eighteen 
inches of the ceiling, and a band of Art Ko-Na 
Cloth run around the top of the wall as a frieze. 

With a blue paper, Art Ko-Na Cloth No. 246, a 
blue tint, for the frieze, and a white ceiling; with 
a green paper, No. 243, a green tint, and a cream 
ceiling; with a red paper, No. 247, pumpkin 
yellow, and a white ceiling. 


THE 
GUEST’S 
BEDROOM 


Samples of goods specified for this room furnished on request. Give page and color numbers desired. 


THE YOUNG GIRL’S BEDROOM 


OW dainty and interesting is the young girl’s Bedroom, when she has acquired correct ideas on decoration, and 
mementoes of travel and friendship, and they are all blended in an individualistic way, for the girls of today think 
independently on matters relating to environment. 


There was a young woman of extremely unconventional turn of mind, who planned to have a pretty Bedroom. Her 


taste was natural and simple; she loved the country and all that reminded her of it. 


So for the town house Bedroom she 


consulted a noted decorative artist of the modern school and the result was somewhat as follows : 


Allthe woodwork and furniture were painted white ; the walls were also white ; the carpet green and quite devoid of 
pattern, but for some bunches of wild pink roses that looked as if they had been carelessly dropped. 


The counterpane and hangings were of a coarse white linen, on which was appliqued a design of harebells in shades 


of lilac and green; and the chairs, so far as they were upholstered 


of applique work in pink and green. 


But the frieze was the feature of the room. 


, were covered with lilac colored linen, with a suggestion 


On a foundation of white Fab-Ri-Ko-Na No. 300 there was stencilled a 


wonderful march of peacocks, in splendid plumage, stepping among clusters of wild flowers growing around, and the contrast 


from the white purity to the brilliant color was as striking as a Whistler conception. 


This sounds more elaborate than it seemed ; short of it many charming and original schemes are possible in a young 
girl’s Bedroom. Peacock blues and greens are not so much used as they might be ; their decorative quality is great. 


DETAILED DESCRIPTION 


The young woman's bedroom illustrated is of 
the simplest possible description; the charm lies 
in the delightful freshness of the color schéme. « © 

The woodwork and most of the furniture are 
white,some burnt-wood work tells of industry and 
individualistic fancy. The wall, from the’ base- 
board to the picture rail that stands for a cornice} 
is simply decorated with Fab-Ri-Ko-Na No.'130, 
dark pea green, ,avcharming green, an ideal back- 
ground for white furniture, pictures, bric-a-brac, 
summer frocks, fresh complexion, and the snow 
white counterpane that bulks so largely in the 
bedroom, 

But -~why.so much green? may be asked. _ In 
the present case the green is there, and we give 
a description of a realroom, not an imaginary one. 
Besides, you cannot get away from green; it 


meets you at every turn. Sweet ‘‘work-a-day 
green’’; and No. 130 is one of the easiest of 
shades to get along with. 

The ceiling is treated with Fab-Ri-Ko-Na No. 
100, cream, plain as the walls, yet not plain, for 
the shuttle has woven a tiny pattern and worked 
out avsurface that without definite pattern is yet 
never plain,-and the light dancing over it pro- 
duces an effect impossible in any other wall 
covering. 

If you would have a stencilled motif, form a 
circle with a broken line, in the center of the 
ceiling, in a green shade corresponding to the 
wall color. Inscribe a yellow butterfly with black 
spots, on an electric blue ground, covering the 
whole circle; repeat this on a smaller scale at the 
corners, some little distance from the wall, con- 


— 26 — 


necting the corner circles with a small green leaf 
stencil, the leaf about an inch long, with a space 
between equal to this. : 

The carpet is in shades of green and,.blue. 

As an alternative, should a pink room be de- 
sired, Art Ko-Na Cloth No. 228, salmon, with 
the ceiling Art Ko-Na Cloth No. 225, a greenish 
white, would make a dainty combination. Fora 
blue room, to cover the.walls with Art Ko-Na 
Cloth No. 246, a delicate blue'tint, and have the 
ceiling a pure white, is a charming arrangement, 
while an equally pleasing effect in an orange tone 
may be secured by using Art Ko-No Cloth No. 242 
for the walls, with Art Ko-Na Cloth No. 226, 
cream colored, on the ceiling. Fab-Ri-Ko-Na No. 
102, on walls, and a white ceiling, gives a room 
with a refreshing green tint. 


YOUNG 
GIRL’S 
BEDROOM 


Samples of goods specified for this room furn 


hed on request. Give page and color numbers desired. 


THE TYPICAL BEDROOM 


moderate cost home, 


blossoms by the wayside. 


Life is too exacting in these days of pressure for the typical man and woman to have anything but a typical 
What would it be worth, estimated by a mere money standard, 


bedroom. 
mistake ? 


Just think of it in this way: You leave the dusty, traffic-stained city and rush over the railroad to the 
fresh, open, sweet-scented country, and you feel like a new man, and take back to the town some of the inspiration 


of the country. 


Have done with typical bedrooms, in so far as they are not well arranged schemes of charming color. 


the matter scientifically or, 


N the peacocks and wild flowers have no existence, excepting in cases where the non- 
superstitious display the gay feathers from the bird’s tail, and the lovers of Nature’s charms pluck the fragrant 


if you want to have the inspiration before you are capable of creating the conditions for 
yourself, consult a reliable authority, who will only be too happy to introduce you to a pleasure he loves to share. 
Then when in Nature’s own surroundings, color, form and suggestion, the whole world and its claims look 


different, and each day you will be as the man with inspiration from the country. 


Do not say color is not so powerful as all this. 


form, that Whistler at last brought the world to his feet. 


In Fab-Ri-Ko-Na Woven Wall Coverings you have practically Nature’s own color range. 
Make the moderate cost home of America typical of the chief charm of Nature, 


of it, especially in the Bedroom. 
and fear not what lies ahead. 


DETAILED DESCRIPTION 


In our typical Bedroom there is nothing in the 
least degree striking, « - The furniture, mahogany ; 
the bedstead} } brass ; and the pictures, eter) are 
of the descriptién to be met with in any well ap- 
pointed moderate cost house. 

This is not to say that there is any inadequacy 
in the combination ; it is merely suggesting the 
absence of outstanding individuality. <= 

With a wall.paper, the scheme would be little 
removed from the commonplace, but with a woven 
wall covering*the room at once assumes a dignity 
that changes its, whole character. 

The woodwork is again white, and the walls 
from baseboard,;to picture rail at ceiling -are 
covered with Art Ko-Na Cloth No. 247, pumpkin 
yellow. The ceiling is covered with the same 
fabric in cream Shade No. 226, butif strict economy 


has to be practiced white kalsomine may be sub- 


* stituted here. 


The carpet has a rose pink foundation, with 
green and yellow pattern ; the hangings are green 


_ linen, with a pale yellow border. 


Is the scheme too simple? Let another be 
suggested. 

~ Form the wall into two sections, a lower 
two-thirds and an upper third, by fixing another 
picture rail in the position this division indi- 
cates. 

Cover the lower two-thirds with Art Ko-Na 
Cloth No. 247, pumpkin yellow, and the upper 
third with Art Ko-Na No. 243, sea green,—pale 
yellow below and pale green above. On the 
pale green, stencil a diapered pattern, in the 
form and color of the graceful fuschia, bringing 


if it could be proved that this is all a 


Why it was by color as much as by form, nay, more than by 


Q 
w 
Xv 
w 
a. 
4 
a 


Study 


Make skilful use 


out all the pink and cream and yellow delicacy 
of color, on a dark outline of medium sage green. 
The ceiling should be cream Art Ko-Na Cloth 
No. 226. 

The two picture rails should be tinted to the 
shade of the Art Ko-Na Cloth No. 243. No 
association could make commonplace a bedroom 
so decorated. 

A cheerful and rather unusual effect may be had 
by using Art Ko-Na Cloth No. 254, a grass green, 
for the full wall of the room, with Art Ko-Na 
Cloth No, 229, a Quaker gray, for the ceiling. 
Still another interesting decoration would be the 
use of Art Ko-Na Cloth No. 248, a robin’s egg 
blue, for the full wall, with the ceiling kalsomined 
a pure white. The woodwork might remain 
white, or be oak or mahogany. 


FRIEZE 


> 


THE 
TYPICAI, 
BEDROOM 


Samples of goods specified for this room furnished on request. Give page and color numbers desired. 


THE DEN OR SMOKING ROOM 


N the Den we reach Bohemianism, where all the conventionalities and formalities are disregarded, and we are prepared 
| for anything. 

It would be impossible to imagine a Den in any of the classical period styles; it is a distinctly modern institution and 
must be treated as such. 

It is an outcome of the generation that brings to sons more liberty from fathers, a generation in which busy men of the 
world feel the necessity for brief periods of undress isolation, and there it is, and it serves its purpose. 

At the St. Louis World’s Fair there was a typical Den. The furniture was of “‘Mission’’ type, the walls were 
panelled by flat oaken straps, stained a dark brown, like the furniture and the Spanish leather with which it was upholstered. 
The panels were lined with green and red Fab-Ri-Ko-Na, green in the lower portion, red in the upper, the red having a 
stencilled motif, For inviting coziness, homelikeness, and an air of a room incapable of being offended by any treatment, 
there was nothing like it at the Exposition. 


The Den in the picture is in close juxtaposition to the library. 


secluded. 


It is better, when practicable, that it should be more 


In Europe the smoking room is the equivalent; a retreat in which ‘“My Lady Nicotine’”’ is duly worshipped by most of 
the mere men on every conceivable opportunity. 
In the decoration, things allusive to the fragrant weed would be quite admissible ; the smoking room on the S. S. 


Lusitania being a fine example of this appropriate idea. 


will have to share a roof with another room, as in our illustration. 


In homes of moderate cost it will frequently happen that the Den 


DETAILED DESCRIPTION 


In the modern ‘‘ Den’’ you cannot get far 
away from the ** Mission’? style, with Antwerp 
oak furniture, cozy cushions, well stuffed, in 
Spanish leather covering, laced with leather 
thongs; altogether and always inviting when a 
pipe, achat, or a reminiscent mood are on. 

In our Den the woodwork is stained to the 
shade of Antwerp oak, the furniture and leather 
being in similar shade. 

The walls are entirely covered with Kord Kc- 
Na No. 531, golden brown, a fine background 
for the curling grey smoke, in which, like the 
complacent Dutchman, you trace reflective fancies 
of things to be, whispered by the spirit of the 
weed, when under its spell. 

The ceiling is decorated with cream Fab-Ri-Ko- 
Na No. 100. The floor is stained to the shade 


of the woodwork, wax polished, and partly 
covered with a few Donegal rugs in shades of 
ruby, dark blue and green. 

The color scheme is repeated in the library 
adjoining, being suitable fora room of this de- 
scription. 

Rememtering the extreme variety of taste in 
color, let us take another scheme entirely dif- 
ferent. 

Take the line of the bookcase top in library, 
and run a flat band of wood six inches broad all 
around the two rooms, retaining the oak color. 

On the lower space use Kord Ko-Na No. 536, 
a turkey red; above, Fab-Ri-Ko-Na No. 100, a 
cream; take a simple motif and in the ruty 
shade stencil a pattern at infrequent intervals 
on the white ground. 


Each division of the wall in the upper space 
might be formed into an elongated panel by a 
ruby line in a chequey pattern, stencilled atcut 
two inches from the moulding. If a simple effect 
is wanted, this alone will suffice; the plain center 
will te an excellent tackground for small pictures, 
which should be fitted without visitle cords. 

An Art Ko Na combination very suitable for the 
Den would be to cover the lower two-thirds of the 
wall with No. 255, a cardinal red, the upper 
third with No. 240, a buff with red top-threads, 
and the ceiling with a cream kalsomine. 

Less expensive decoration for such a Den 
would be dark brown Fab-Ri-Ko-Na No. 144 as 
dado around the lower wall, the plaster on the 
upper well tinted a light orown, and the ceiling 
cream. 


THE DEN 
OR 
SMOKING 
ROOM 


igre eeiet 


SS 


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SS 


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Samples of goods specified for this room furnished on request. Give page and color numbers desired. 


A FEW 


VARIOUS FAB-RI-KO-NA PRODUCTS 
MENTIONED IN THIS BOOKLET 


NOTE. The texture of the burlaps shown in the illustrations of this 
booklet is purposely exaggerated. If the burlap had been shown just as 
it would appear when the roum was reduced from full size to the size of 
the picture, the texture effect would be lost. If you are in a burlaped room 
the texture effect will be about as shown in the pictures. 


Dyed Tapestry Burlaps: The regular Fab-Ri-Ko-Na 
dyed burlaps, in solid colors and shades. 


Fab-Ri-Ko-Na Dadoes: These are regular 36-inch 
Fab-Ri-Ko-Na burlaps with a design printed on them in 
two-tones. They make an artistic lower wall, and are an 
economy. 


Metallic Effects: Regular Fab-Ri-Ko-Na dyed burlaps 
with metallic surface effect. 


Lustra Ko-Na Burlaps: Dyed tapestry burlaps with 
a lustrous finish, in several delicate tints. 


Art Ko-Na Cloth: Of fine texture, and strong, dura- 
ble body, these decorative Cloths have a daintiness of 
coloring, are in a wide range of delicate tints and shades, 
and make possible a great variety of exquisite combinations. 
Besides the charm of their effect, these goods have an 
eggshell lustrous finish of such a character that they may 
be wiped clean with a damp soft cloth or sponge without 
injury to the goods. 


Vellum Ko-Na Burlaps: <A dyed tapestry burlap 
with a Vellum finish, producing a new and beautiful decora- 
tive surface, and one which, like that of the Art Ko-Na 
Cloth, may be more thoroughly cleansed than any other 
similar wall fabrics. 


Prepared Canvas: A strong canvas used for ceilings, 
and painted or tinted after it is hung. 


EXPLANATIONS 


PRACTICAL ADVANTAGES 


All these goods have the Fab-Ri-Ko-Na backing, which 
causes them, when pasted, to adhere firmly to the wall. 
They are shrunk in manufacture, and will not shrink on 
the wall. The dyed goods are dyed with the fastest colors 
known. All protect the walls, and furnish a durable, 
beautiful and economical decorative material not to be 
surpassed at any price. Made 36 inches wide, with a 
range of standard colors in 54, 72 and 108 inch widths. 


OUR ART DEPARTMENT 


Decorative Suggestions Furnished: We have fora 
good while been called upon for suggestions as to decora- 
tive work, and we organized our Art Advisory Department 
especially to meet this demand. Its services are free to 
all, and we furnish the actual samples of the wall 
coverings we specify. 


Embossed Color Scheme Cards: In connection 
with our Advisory Department we devised a series of 
Cards, 11 x 6 inches in size, on which we emboss a 
panel, with the woodwork in the shape and color of the 
trim of aroom. The panel is divided into various forms 
of wall decoration, and we put the goods into the panels, 
showing at a glance the wall coverings and the woodwork 
as they will look when associated on the wall of the room. 
When our suggestions are wanted on these cards we make 
a nominal charge of twelve cents per card. 

Stencils: For $1.00 we will furnish post-paid, the cut 
stencils required for any room as shown on pages 9, 11, 
15, 17 or 19, 

Information Blanks: We will sendon request, Blanks 
on which you can give us concisely the information we 
need in order that we may advise you intelligently. 


H. B. WIGGIN’S SONS CO.., 


128 ARCH STREET, BLOOMFIELD, N. J. 


FOR 


‘YOUR. 


